Marvel Comics adapted the famous George Lucas film, "the greatest space-fantasy of all" in six parts back in 1977, with Roy Thomas scripting/editing and Howard Chaykin illustrating.
What's remains rather interesting (and you can see it from the cover art), is how much this visual interpretation of Stars Wars (both inside the book and on the cover...) deviates from the art design we're all so familiar with these days.
On the cover illustration, for instance, Darth Vader's helmet is mysteriously forest green (and he has fiery flames in his eyes...), Princess Leia has red hair and no eye pupils -- like she's a zombie or something -- and Han Solo dons an orange shirt instead of a black vest and white shirt. Both Jedi light sabers are red, instead of blue signifying the color of the Jedi.
The design for the ships is also subtly different than what we're used to -- the Star Destroyer from the movie's opening attack over Tatooine looks in the comic more like a slice of pizza with a pyramid on top of it than the battle cruiser for the Galactic Empire.
But these, of course are quibbles.
Often movie adaptations differ substantially from the actual movies, because artists have had the chance only to view production designs, not the actual film. And sometimes, writers work from an earlier draft of the script, or a rough cut of the picture, as was the case with this first issue of Star Wars.
For instance, on page 7, the issue presents us with Luke Skywalker's visit to the Tatooine metropolis of Anchorhead. There he meets his buddy Biggs Darklighter, and gets razzed by a tech chick who apparently gives Luke the nickname of "Wormie." Luke is there to tell the visiting Biggs (of the cruiser, Rand Ecliptic...) that he sighted a battle in the skies above Tatooine (Star Destroyer vs. Blockade Runner). In these scenes, Luke also wears -- unfortunately - a Gilligan hat and big goggles.
Before Star Wars was available on VHS, or the script was produced by NPR for the radio, an additional scene like this one at Anchorhead -- expanding the SW universe -- was like a gift from Heaven. At that young age (eight, I guess...) I remember wanting more Star Wars, more Star Wars, more Star Wars. And every little detail, like the fact that Han Solo was a "Corellian" - which I gleaned from the Star Wars Storybook - was like a scrap of food for a starving man.
This particular issue of Star Wars ends early in the film, at the point just before the introduction of Ben Kenobi, as Luke is beset by Sand People (Tusken Raiders), so it doesn't even dramatize the whole movie, but that doesn't reduce its importance or uniqueness for me. As a kid, I just read this thing over and over. To me, there's always something special about the beginning of a saga. About seeing how everything starts. I just find it fascinating.
Today, I appreciate the cover art on Star Wars # 1 a little more than I once did, in part because I like the blaring legend on the lower left side:
"Enter: Luke Skywalker! Will he save the galaxy or destroy it?"
I don't know how Marvel formulated this sentence, but in a way, it represents the very core of the Star Wars ethos as we know it today. Anakin Skywalker was once the great hope of the galaxy, before faltering and going down the path of the Dark Side, and at plenty of spots in the original trilogy (particularly in The Empire Strikes Back and Return of the Jedi), we wonder if Luke will indeed repeat the same mistake, and succumb to that outstretched hand of Lord Darth Vader on Bespin.
It's probably just happy coincidence that Marvel narrowed the point of the still-fledgling series down to this valuable bit of copy, but boy does it hold up well today, now that we've seen all six episodes of the space epic.
Even today, I get a shiver from watching the original Star Wars, and in particular that early scene wherein Luke confronts his Uncle Owen. "Luke's just not a farmer, Owen. He's got too much of his father in him," warns kindly Aunt Beru.
"That's what I'm afraid of..." replies Owen testily, his line carrying tons of foreboding.
That exchange -- which resonates throughout all six episodes of Lucas's work -- appears in this issue of Marvel's Star Wars (which cost only 35 cents at the time...) on page 23, and it has lost none of its frisson today.
In fact, it works better than ever, now that we've seen the fall of the Republic and the "birth" of Darth Vader.